Dongsam Park, Byungho Lee, Fanhee Lee

peel - Imagine its boundary

In response to the question of whether the phenomenon and essence of form can be distinguished, the exhibition imagines ‘peel’s boundary’ at the 'form' as both a visual element and a significant aspect of artistic expression. Can the peel be a ‘Mobius strip’, a curved surface where the inside and outside are indistinguishable? The Mobius stripe recognizes that the phenomena and essence of things, true and false, black and white, cannot be placed on different sides, but can be subject to the laws ruled on the same side. In this exhibition, Dongsam Park, Byungho Lee, Fanhee Lee erase, strip, install with thick matière, sculpt and paint, asking us a question.

Dongsam Park images the boundary of the peel as what we see when only silhouette is left after the details are deleted. A silhouette is a drawing of the outline of a thing. Every thing has its own silhouette. A silhouette becomes a medium of recognition as image. The artist presents a sculpture that he worked with the silhouette itself, which discarded the property of things. The materials of the work are transparent tape and Hanji with unique physical properties. The physical properties of the two materials serve as the background for discarding the properties of things. Isn’t the silhouette presented by the artist the deterritorialization and reterritorialization of the peel in form?

Byungho Lee wants to see the true nature of invisible area and the empty area behind the peel. The artist’s intention to make the invisible things visible manifests some atypical things that exist in an empty area without the exterior, the contour. The artist repeats contracting and expanding the human body sculpture made of silicone using a mechanical device, or creates a new pose by recombining the cut human body sculptures. It decontextualizes and recontextualizes the human body, which incubates what has not become extinct even though they shall become extinct. In a sculpture that seems to be alive and breathing, the boundary of the peel becomes helpless.

Fanhee Lee does not break the peel of the image through conceptual painting, whose content is various techniques and thick matière, but presents the works just before the break, in the state of tension. Lee strongly controls the ambiguity that rises due to the temperature difference between the boundaries as touch-and-go tension and density standing on the boundary between sculpture and painting through the process of stress. The artist exposes the physical properties of the material with a strong sense of mass to the front in a certain way rather than leaving the canvas surface to chance, making the canvas screen look like a relief. Fanhee Lee’s work in which the surface of the painting escapes and varies in a sense different from that of pictorial painting will allow us to control or imagine the freedom of boundaries.